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If you're reading this, you're looking for a little help playing Strands, the New York Times' elevated word-search game.

Strands requires the player to perform a twist on the classic word search. Words can be made from linked letters — up, down, left, right, or diagonal, but words can also change direction, resulting in quirky shapes and patterns. Every single letter in the grid will be part of an answer. There's always a theme linking every solution, along with the "spangram," a special, word or phrase that sums up that day's theme, and spans the entire grid horizontally or vertically.

SEE ALSO: Mahjong, Sudoku, free crossword, and more: Play games on Mashable

By providing an opaque hint and not providing the word list, Strands creates a brain-teasing game that takes a little longer to play than its other games, like Wordle and Connections.

If you're feeling stuck or just don't have 10 or more minutes to figure out today's puzzle, we've got all the NYT Strands hints for today's puzzle you need to progress at your preferred pace.

SEE ALSO: Wordle today: Answer, hints for December 20 SEE ALSO: NYT Connections hints today: Clues, answers for December 20 NYT Strands hint for today’s theme: Morning morsel

These words are something you might eat for breakfast.

Today’s NYT Strands theme plainly explained

Words are singular versions of common types of breakfast foods.

NYT Strands spangram hint: Is it vertical or horizontal?

Today's NYT Strands spangram is horizontal.

NYT Strands spangram answer today

Today's spangram is Cereal.

Featured Video For You Strands 101: How to win NYT’s latest word game NYT Strands word list for December 20

• Loop

• Cheerio

• Crunch

• Puff

• Pebble

• Charm

• Flake

• Smack

• Cereal

Looking for other daily online games? Mashable's Games page has more hints, and if you're looking for more puzzles, Mashable's got games now!

Check out our games hub for Mahjong, Sudoku, free crossword, and more.

Not the day you're after? Here's the solution to today's Strands.

The Mini is a bite-sized version of The New York Times' revered daily crossword. While the crossword is a lengthier experience that requires both knowledge and patience to complete, The Mini is an entirely different vibe.

With only a handful of clues to answer, the daily puzzle doubles as a speed-running test for many who play it.

So, when a tricky clue disrupts a player's flow, it can be frustrating! If you find yourself stumped playing The Mini — much like with Wordle and Connections — we have you covered.

SEE ALSO: Mahjong, Sudoku, free crossword, and more: Play games on Mashable

Here are the clues and answers to NYT's The Mini for Friday, December 20, 2024:

AcrossWhat it doesn't hurt to do if you're confused, they say

• The answer is Ask.

"Toodles!"

• The answer is Tata.

"A Christmas ___" (classic holiday book)

• The answer is Carol.

Really love

• The answer is Adore.

More than a few

• The answer is Many.

SEE ALSO: NYT Connections hints today: Clues, answers for December 20, 2024 DownBurr in "Hamilton"

• The answer is Aaron.

"A Christmas ___" (classic holiday movie)

• The answer is Carol.

Dark green leafy green

• The answer is Kale.

Magician's "I did it!"

• The answer is Tada.

Word after dash or web

• The answer is Cam.

If you're looking for more puzzles, Mashable's got games now! Check out our games hub for Mahjong, Sudoku, free crossword, and more.

Featured Video For You The Wordle Strategy used by the New York Times' Head of Games

Are you also playing NYT Strands? See hints and answers for today's Strands.

Not the day you're after? Here's the solution to the latest Mini Crossword.

Adrien Brody, Felicity Jones and Guy Pearce dive deep into the architectural movement of Brutalism in Europe that serves as the backdrop of the film The Brutalist.

The Brutalist is now in limited theaters.

TL;DR: Live stream Oklahoma City Thunder vs. Miami Heat in the NBA with FuboTV, Sling TV, or YouTube TV.

The Oklahoma City Thunder head to Kaseya Center to face the Miami Heat. The Thunder are one of the best teams in the NBA so far this season, sitting atop the Western Conference with a 20-5 record. The Heat aren't faring too badly, but sit in sixth place with a 13-11 record.

When is Oklahoma City Thunder vs. Miami Heat?

Oklahoma City Thunder vs. Miami Heat in the NBA starts at 8 p.m. ET on Dec. 20. This game takes place at Kaseya Center in Miami.

How to watch Oklahoma City Thunder vs. Miami Heat

You need to choose a streaming service to watch the NBA without cable or satellite TV. We've found some of the best streaming services to consider for the Thunder vs. Heat basketball game.

Best for single game: FuboTV Opens in a new window Credit: Fubo TV FuboTV Pro plan Get Deal

FuboTV offers you more than 250 channels of live TV and the option to watch on 10 screens at once. You can try FuboTV with a seven-day free trial period. 

FuboTV’s sports channel offerings include ABC, ACC Network, Big Ten Network, CBS, CBS Sports Network, ESPN, ESPN2, ESPNews, FOX, FS1, FS2, Golf Network, Marquee Sports Network, Monumental Sports, NBC, NFL Network, and SEC Network. 

Most live sports: YouTube TV Opens in a new window Credit: YouTube TV YouTube TV $49.99/month for your first two months (save $46) Get Deal

YouTube TV's base plan is $49.99 per month for two months for new subscribers ($72.99 per month regularly). The base plan includes over 100 live TV channels, including ABC, CBS, FOX, NBC, ESPN, Fox Sports 1, and NBA TV.

Most affordable: Sling TV Opens in a new window Credit: Sling TV Sling Orange Plan Get Deal

Sling TV suggests the streamer's Orange Plan for the game, which costs $20 for the first month and $40 monthly after that.

Sling TV’s sports channels feature ABC, ACC Network, Big Ten Network, ESPN, ESPN2, ESPN3, ESPNews, ESPNU, FOX, FS1, FS2, NBA TV, NBC, NFL Network, and SEC Network.

How to watch Thunder vs. Heat from anywhere in the world

If you're traveling outside of the U.S. during this game, you might need to use a VPN to unblock this live stream. VPNs can hide your real IP address (digital location) and connect you to a secure server, meaning you can unblock live streams of the NBA from anywhere in the world.

Live stream Oklahoma City Thunder vs. Miami Heat for free by following these simple steps:

1. Subscribe to a streaming-friendly VPN (like ExpressVPN)

2. Download the app to your device of choice (the best VPNs have apps for Windows, Mac, iOS, Android, Linux, and more)

3. Open up the app and connect to a server in the U.S.

4. Sign in to your favorite streaming app

5. Watch Oklahoma City Thunder vs. Miami Heat from anywhere in the world

Opens in a new window Credit: ExpressVPN ExpressVPN (1-Year Subscription + 3 Months Free) $99.95 only at ExpressVPN (with money-back guarantee) Get Deal

The best VPNs for streaming are not free, but leading VPNs do tend to offer free-trial periods or money-back guarantees. By leveraging these offers, you can gain access to live streams of the NBA without actually spending anything. This obviously isn't a long-term solution, but it does give you enough time to live stream Oklahoma City Thunder vs. Miami Heat before recovering your investment.

What is the best VPN for the NBA?

ExpressVPN is the best choice for bypassing geo-restrictions to stream live sport, for a number of reasons:

• Servers in 105 countries

• Easy-to-use app available on all major devices including iPhone, Android, Windows, Mac, and more

• Strict no-logging policy so your data is secure

• Fast connection speeds free from throttling

• Up to eight simultaneous connections

• 30-day money-back guarantee

A one-year subscription to ExpressVPN is on sale for $99.95 and includes an extra three months for free — 49% off for a limited time. This plan includes a year of free unlimited cloud backup and a generous 30-day money-back guarantee.

Live stream Oklahoma City Thunder vs. Miami Heat in the NBA with ExpressVPN.

TL;DR: Live stream Charlotte Hornets vs. Philadelphia 76ers in the NBA with FuboTV, Sling TV, or YouTube TV.

The Charlotte Hornets head to Wells Fargo Center to face the Philadelphia 76ers in an Eastern Conference matchup. Both teams are hovering near the bottom of their conference. The Hornets are 7-19, which places them in 13th place. The 76ers are faring just slightly better with an 8-16 record, which places them in 12th place right about the Hornets.

When is Charlotte Hornets vs. Philadelphia 76ers?

Charlotte Hornets vs. Philadelphia 76ers in the NBA starts at 7 p.m. ET on Dec. 20. This game takes place at Wells Fargo Center in Philadelphia.

How to watch Charlotte Hornets vs. Philadelphia 76ers

You need to choose a streaming service to watch the NBA without cable or satellite TV. We've found some of the best streaming services to consider for the Hornets vs. 76ers basketball game.

Best for single game: FuboTV Opens in a new window Credit: Fubo TV FuboTV Pro plan Get Deal

FuboTV offers you more than 250 channels of live TV and the option to watch on 10 screens at once. You can try FuboTV with a seven-day free trial period. 

FuboTV’s sports channel offerings include ABC, ACC Network, Big Ten Network, CBS, CBS Sports Network, ESPN, ESPN2, ESPNews, FOX, FS1, FS2, Golf Network, Marquee Sports Network, Monumental Sports, NBC, NFL Network, and SEC Network. 

Most live sports: YouTube TV Opens in a new window Credit: YouTube TV YouTube TV $49.99/month for your first two months (save $46) Get Deal

YouTube TV's base plan is $49.99 per month for two months for new subscribers ($72.99 per month regularly). The base plan includes over 100 live TV channels, including ABC, CBS, FOX, NBC, ESPN, Fox Sports 1, and NBA TV.

Most affordable: Sling TV Opens in a new window Credit: Sling TV Sling Orange Plan Get Deal

Sling TV suggests the streamer's Orange Plan for the game, which costs $20 for the first month and $40 monthly after that.

Sling TV’s sports channels feature ABC, ACC Network, Big Ten Network, ESPN, ESPN2, ESPN3, ESPNews, ESPNU, FOX, FS1, FS2, NBA TV, NBC, NFL Network, and SEC Network.

How to watch Hornets vs. 76ers from anywhere in the world

If you're traveling outside of the U.S. during this game, you might need to use a VPN to unblock this live stream. VPNs can hide your real IP address (digital location) and connect you to a secure server, meaning you can unblock live streams of the NBA from anywhere in the world.

Live stream Charlotte Hornets vs. Philadelphia 76ers for free by following these simple steps:

1. Subscribe to a streaming-friendly VPN (like ExpressVPN)

2. Download the app to your device of choice (the best VPNs have apps for Windows, Mac, iOS, Android, Linux, and more)

3. Open up the app and connect to a server in the U.S.

4. Sign in to your favorite streaming app

5. Watch Charlotte Hornets vs. Philadelphia 76ers from anywhere in the world

Opens in a new window Credit: ExpressVPN ExpressVPN (1-Year Subscription + 3 Months Free) $99.95 only at ExpressVPN (with money-back guarantee) Get Deal

The best VPNs for streaming are not free, but leading VPNs do tend to offer free-trial periods or money-back guarantees. By leveraging these offers, you can gain access to live streams of the NBA without actually spending anything. This obviously isn't a long-term solution, but it does give you enough time to live stream Charlotte Hornets vs. Philadelphia 76ers before recovering your investment.

What is the best VPN for the NBA?

ExpressVPN is the best choice for bypassing geo-restrictions to stream live sport, for a number of reasons:

• Servers in 105 countries

• Easy-to-use app available on all major devices including iPhone, Android, Windows, Mac, and more

• Strict no-logging policy so your data is secure

• Fast connection speeds free from throttling

• Up to eight simultaneous connections

• 30-day money-back guarantee

A one-year subscription to ExpressVPN is on sale for $99.95 and includes an extra three months for free — 49% off for a limited time. This plan includes a year of free unlimited cloud backup and a generous 30-day money-back guarantee.

Live stream Charlotte Hornets vs. Philadelphia 76ers in the NBA with ExpressVPN.

"You can't let your pain change who you are," James Marsden's Tom says to Sonic the Hedgehog early on in Sonic the Hedgehog 3. Because what else would this adaptation of the classic Sega video game series be about, other than trauma? Going super fast? Collecting rings? Beating Doctor Eggman? Nope, this movie is going to be about how pain shapes you. And in case it wasn't clear to the audience the first time it was delivered, the line is repeated later, as are multiple ones about making the right choices. I couldn't help but feel I had made all the wrong ones that led me to reviewing Sonic the Hedgehog 3. 

Thankfully, this isn't the type of truly terrible video game adaptation that has been the norm for so many years, from the bizarre nonsense of 1993's Super Mario Bros. to the inept laziness of 2024's Borderlands, but that's also not to say that Sonic the Hedgehog 3 is actually good either. This third movie ends up somewhere in the middle, making it less-than-essential viewing for anyone over the age of 10 who didn't grow up with a Genesis or a Dreamcast in the house. (We were a Nintendo family.) It'll please kids and Sega devotees well enough, but it's likely to leave others bored, wishing the movie would move as fast as its blue hero does so they can do literally anything else. 

What is Sonic the Hedgehog 3 about? (Other than trauma.) Credit: Paramount Pictures and Sega of America, Inc.

Sonic the Hedgehog 3 begins on Prison Island in Tokyo Bay, Japan, where a mysterious hedgehog breaks out and wreaks havoc in the way that only a hedgehog played by the dude that starred as John Wick and Neo can. Shadow (voiced by Keanu Reeves) is leaving a path of destruction through Tokyo, and Sonic the hedgehog (voiced by Ben Schwartz), Tails the fox (voiced by Colleen O'Shaughnessey), and Knuckles the echidna (voiced by Idris Elba) are called in to help. But even together, they are no match for Shadow, who has plenty of power — and plenty of pain from a death in his past. Surprisingly, the evil Doctor Robotnik (Jim Carrey) might be the only one who can help Sonic defeat this new enemy, but can he be trusted?

SEE ALSO: How 'Grand Theft Hamlet' evolved from lockdown escape to Shakespearean success

With even more action sequences than its predecessors, Sonic the Hedgehog 3 feels like it's aiming for bigger things, sending the Blue Blur and his friends both around the world and beyond it, from Green Hills, Montana, to Tokyo and London and even into space. The fate of the Earth lies in their weird animated hands. The series seems to follow the model of Fast and the Furious franchise, getting more epic with each new installment and turning enemies into allies, as Knuckles and even Doctor Robotnik are brought into the fold. Beyond the emphasis on speed, both franchises are also all about family, especially as Doctor Robotnik finally gets one of his own with the introduction of his grandfather. Gerald Robotnik, who is also played by Carrey, is also evil — maybe even more so than his grandson. 

The actor playing Doctor Robotnik continues to… Carrey the series.  Credit: Paramount Pictures and Sega of America, Inc.

Carrey remains the best part of this franchise, with his wild faces and manic line delivery. Schwartz might voice the eponymous speedster, but Carrey is the real star. Other than money, I can't quite figure out why these films exist, but I can't be too mad at anything that gives Carrey a chance to be this silly in movies meant for kids — especially when he gets to play two characters in this third film and mug twice as much. 

Yet for all the silliness Carrey brings, Sonic the Hedgehog 3 gets a bit dark at times. Shadow is fueled by a desire to avenge the death of a young friend, and it feels a bit off when paired with Carrey's antics, as well as the one-liners from Schwartz and the gruff humor from Elba's Knuckles. Plot and character motivation have never really been this series' strength — both so much and so little happened in Sonic the Hedgehog 2 — and the story is certainly not the draw here. There are emeralds and keys and a dance sequence, because why not?

Where is James Marsden, and even more importantly, where is Natasha Rothwell?  James Marsden as Tom and Tika Sumpter as Maddie, Sonic's adopted parents, are mostly AWOL. Credit: Paramount Pictures and Sega of America, Inc.

But unfortunately with the double Carrey, the trip to space, and everything else, there's less room for the more human, heartfelt parts of the story that were present in early movies, which means less Marsden. Tom and Maddie (Tika Sumpter) have gotten less screen time with each installment, which means that the inevitable Sonic the Hedgehog 4 (which is teased in the requisite mid-credits sequence with a character I had to Google) will just have the adoptive hedgehog parents waving from the side of the road while Sonic races by, relegated to an Easter egg. Even in Sonic the Hedgehog 3, we only get cameos from Adam Pally and Natasha Rothwell, who were both highlights of the earlier movies and bring a delightfully different comic energy than either Carrey or Marsden. 

Natasha Rothwell plays Rachel and Shemar Moore plays Randall in "Sonic The Hedgehog 3." Credit: Paramount Pictures and Sega of America

The animated trio is the least interesting part of these movies, at least for adults. The CGI that inserts Sonic, Tails, and Knuckles into live-action scenes alongside human actors is fine enough, but it's difficult to invest in these characters and, by extension, the whole movie. The returning director Jeff Fowler and screenwriters Pat Casey, Josh Miller, and John Whittington don't seem interested in making you care if you don't already, which honestly makes sense. It's the third movie in the franchise: You're likely here because you liked the first two movies, your kids liked the first two movies, or you're getting paid to review it. It has some winking in-jokes for video game fans, but not enough actual jokes, especially outside of Carrey's role. Unless you count Schwartz's Sonic saying, "Konichi-whaaaaaaaa?" while in Tokyo, which I don't.

Despite that eye-roller of a line, Sonic the Hedgehog 3 isn't among either the worst video game adaptations or the worst kids' movies. It's a bit bland and boring whenever Carrey isn't on screen, but it's competently made, and it isn't grating. For better or for worse, it won't create the kind of pain that changes who you are. It's also shorter than Sonic the Hedgehog 2, so if you're only watching out of parental (or critical) obligations, it'll be quick — though sadly not as fast as Sonic himself. 

Sonic the Hedgehog is now in theaters.

For many people, the New Year is a fresh chance to ditch habits that don't serve them. It's often also paired with new aspirations tied to self-improvement or behavior change.

On social media, this unique season often revolves around a vague but familiar idea—setting an intention.

Just how one does this varies from person to person. Some TikTok users swear by (and sell) intention candles and journals. Others make it simpler by advising their followers to set an intention and repeat it regularly, sometimes multiple times a day.

SEE ALSO: Stop scrolling so much. Try these rituals instead.

But the high stakes and newfound motivation can be a trap for people who set an unrealistic intention for themselves.

Consider the person in debt who's determined to get rich within a year's time. Or the erstwhile runner who decides to complete a marathon by the spring. While these may be worthy goals, it's unlikely that they're the right ones to set, given the change they require.

Dr. Richard J. Davidson, founder of the nonprofit organization Healthy Minds Innovations, Inc., says successful intention-setting involves a few important factors. These include understanding your aspirations, identifying manageable steps to make them a reality, and adopting self-compassion as you navigate the natural ups and downs of behavior change.

"I think one of the most important things about intention is to be realistic and kind with ourselves," Davidson says.

An intention is an opportunity for "awakening"

Davidson, who has spent his career studying the effects of meditation on the brain, thinks of an intention as the "conscious representation of a future goal."

To some, this might sound like a New Year's resolution. But an intention often implies something deeper, like an urge to shift one's mindset, not just change everyday behavior.

In this sense, Davidson says that an intention can be as straightforward as practicing gratitude or connecting with your purpose, which can have positive effects.

In research that Davidson previously conducted, school teachers who spent a few minutes each morning reflecting on their purpose as educators felt the benefits of doing so.

"When people do that, they report that it's like an elixir for their soul," Davidson says. "It really helps to restore their vitality and navigate the adversities that they face."

Simple exercises like this, which help people remember or imagine their deepest intentions, can provide opportunities for "awakening," he adds.

Davidson does say that people should be skeptical of those who charge you to set an intention. Similarly, he recommends exercising caution when encountering scientific claims about intention-setting online, because the person expressing them may not understand or may misrepresent scientific research. (The Healthy Minds app, which offers content on behavior change, is available for free, and has been the subject of peer-reviewed studies.)

You can set an intention any time, anywhere

The new year brings big expectations for many, along with anxiety about properly taking advantage of a clean slate. Davidson warns against believing that your life needs to look a certain way before you set an intention. In fact, waiting for the perfect combination of factors can have the opposite effect by holding you back from being able to change.

By contrast, flexibility can help someone encode an intention in their brain and be able to access it regardless of the circumstances. So while it might not feel ideal to set an intention during a stressful period, it may make it easier to remember it when things are calmer.

"In order to make an intention become repeatable and have it turn into a new habit, it's important to be able to do it in different contexts," Davidson says.

Make your intention realistic

Social media is full of promises that you can manifest your grandest dreams if you set the right intention, in just the right way. This approach may very well lead to a "failure experience" depending on the goal and the steps someone takes to achieve it, Davidson says.

What you want is to choose a reasonable intention. So if you hope to become rich one day, perhaps start by first setting the intention to pay off and avoid new debt in the coming year.

Also try thinking of an intention as the first of many nesting dolls. In order to achieve a broader goal, you'll likely need to take smaller steps toward it.

You can set an intention to align your career with your purpose in the new year, but that will require setting related goals on a daily, weekly, or monthly basis. This could mean volunteering for a nonprofit you admire and developing new professional skills related to that purpose. It could also involve simply connecting with that purpose every day for a few minutes, like the school teachers did in Davidson's study.

Keep revisiting your intention

Davidson says the brain can become habituated to a new goal if you continue to revisit it. Writing it down, saying it aloud, or otherwise reflecting on it every day is a good strategy. Integrating rituals, like lighting a candle or playing a specific song, into this process can be helpful, too.

However, the brain also craves novelty. Davidson says that if your interest in an intention is flagging, you might need to switch up how you engage with the intention. You can try writing a new version, reciting it at a different time of day, or pairing it with a new ritual.

Be kind to yourself if you forget your intention

You will naturally forget an intention, even if you've worked hard to build a streak revisiting it every day. It may have slipped your mind on a particularly stressful day or during a bout of illness. This is normal and not something to punish yourself over, Davidson says.

When this happens, he says it's important to practice self-kindness, then move on. These moments can also be an opportunity to learn about what distracts you from an intention, or discourages you from starting over the next day. Take that information to make necessary changes that will help you succeed.

"We all fail at these things; it's not anything to be ashamed of," Davidson says. "We need to be kind and patient with ourselves."

Wondering how to watch college football this season? Here are your best options: Best for affordability Sling TV Blue Plan $20 for the first month, then $40/month (save $20 ) Get Deal BEST FOR SINGLE GAME FuboTV Pro plan 7-day free trial, then $59.99/month for 1 month (Save $20) Get Deal

The No. 12 Clemson Tigers and the No. 5 Texas Longhorns will face off in the first round of the College Football Playoffs (CFP). The match will take place at DKR-Texas Memorial Stadium in Austin on Saturday, Dec. 21, and is scheduled to start at 4 p.m. ET/1 p.m. PT.

The Tigers are 10-3 overall and 7-1 in conference, but earned their way into the CFP field by defeating SMU in the Atlantic Coast Conference championship. Texas is 11-2 overall and 7-1 in conference, but lost to Georgia in the SEC championship, taking away their own first-round bye.

The CFP has moved to a 12-team playoff format that allows the highest ranked winners of the top four conferences to take the top four seeds. The highest ranked winner of a fifth conference will take the 12th seed, if the team is not ranked higher than 12. The rest of the playoff field is filled out by ranking in a bracket released by the CFP committee. The top four seeds earn a first-round bye.

The winner of Clemson vs. Texas will go on to face the Arizona State Sun Devils in the Peach Bowl.

SEE ALSO: How to watch college football without cable Clemson vs. Texas football kickoff time and network

The Clemson vs. Texas football game is scheduled for a 4 p.m. ET/1 p.m. PT start on TNT/Max on Saturday, Dec. 21.

The game will air on TNT/Max through a five-year deal between TNT and ESPN to sub-license CFP games. The broadcast crew will still be handled by ESPN. Therefore, Dave Pasch is expected to do the play-by-play, while Dusty Dvoracek joins him in the booth, and Taylor McGregor reports from the sideline.

Best streaming services for Clemson vs. Texas football game

You need to choose a streaming service to watch college football without cable or satellite TV. We've found some of the best streaming services to consider for the Clemson vs. Texas football game on TNT/Max. 

Most live sports: YouTube TV Opens in a new window Credit: YouTube TV YouTube TV $49.99/month for your first two months (save $46) Get Deal

YouTube TV's base plan is $49.99 per month for two months for new subscribers ($72.99 per month regularly). The base plan includes over 100 live TV channels, including ABC, CBS, FOX, NBC, ESPN, Fox Sports 1, and NBA TV.

Most channels: Sling TV Opens in a new window Credit: Sling Sling Orange Plan Get Deal

Sling TV suggests the streamer's Orange Plan for the game, which costs $20 for the first month and $40 monthly after that.

Sling TV’s sports channels feature ABC, ACC Network, Big Ten Network, ESPN, ESPN2, ESPN3, ESPNews, ESPNU, FOX, FS1, FS2, NBC, NFL Network, and SEC Network.

Best for single game: FuboTV Opens in a new window Credit: FuboTV FuboTV Pro plan Get Deal

FuboTV offers you more than 250 channels of live TV and the option to watch on 10 screens at once. You can try FuboTV with a seven-day free trial period. 

FuboTV’s sports channel offerings include ABC, ACC Network, Big Ten Network, CBS, CBS Sports Network, ESPN, ESPN2, ESPNews, FOX, FS1, FS2, Golf Network, Marquee Sports Network, Monumental Sports, NBC, NFL Network, and SEC Network. 

Wondering how to watch college football this season? Here are your best options: Best for affordability Sling TV Blue Plan $20 for the first month, then $40/month (save $20 ) Get Deal BEST FOR SINGLE GAME FuboTV Pro plan 7-day free trial, then $59.99/month for 1 month (Save $20) Get Deal

The No. 11 SMU Mustangs and the No. 6 Penn State Nittany Lions will face off in the first round of the College Football Playoffs (CFP). The match will take place at Beaver Stadium in Pennsylvania on Saturday, Dec. 21, and is scheduled to start at 12 p.m. ET/9 a.m. PT.

SMU is 11-2 overall and 8-0 in conference. The Mustangs lost in the Atlantic Coast Conference championship to the Clemson Tigers, knocking them out of a top-four seed. Penn State is 11-2 overall and 8-1 in conference in the Big Ten.

The CFP has moved to a 12-team playoff format that allows the highest ranked winners of the top four conferences to take the top four seeds. The highest ranked winner of a fifth conference will take the 12th seed, if the team is not ranked higher than 12. The rest of the playoff field is filled out by ranking in a bracket released by the CFP committee. The top four seeds earn a first-round bye.

The winner of SMU vs. Penn State will go on to face the Boise State Broncos in the Fiesta Bowl.

SEE ALSO: How to watch college football without cable SMU vs. Penn State football kickoff time and network

The SMU vs. Penn State football game is scheduled for a 12 p.m. ET/9 a.m. PT start on TNT/Max on Saturday, Dec. 21.

The game will air on TNT/Max through a five-year deal between TNT and ESPN to sub-license CFP games. The broadcast crew will still be handled by ESPN. Therefore, Mark Jones is expected to do the play-by-play, while Roddy Jones joins him in the booth, and Quint Kessenich reports from the sideline.

Best streaming services for SMU vs. Penn State football game

You need to choose a streaming service to watch college football without cable or satellite TV. We've found some of the best streaming services to consider for the SMU vs. Penn State football game on TNT/Max. 

Most live sports: YouTube TV Opens in a new window Credit: YouTube TV YouTube TV $49.99/month for your first two months (save $46) Get Deal

YouTube TV's base plan is $49.99 per month for two months for new subscribers ($72.99 per month regularly). The base plan includes over 100 live TV channels, including ABC, CBS, FOX, NBC, ESPN, Fox Sports 1, and NBA TV.

Most channels: Sling TV Opens in a new window Credit: Sling Sling Orange Plan Get Deal

Sling TV suggests the streamer's Orange Plan for the game, which costs $20 for the first month and $40 monthly after that.

Sling TV’s sports channels feature ABC, ACC Network, Big Ten Network, ESPN, ESPN2, ESPN3, ESPNews, ESPNU, FOX, FS1, FS2, NBC, NFL Network, and SEC Network.

Best for single game: FuboTV Opens in a new window Credit: FuboTV FuboTV Pro plan Get Deal

FuboTV offers you more than 250 channels of live TV and the option to watch on 10 screens at once. You can try FuboTV with a seven-day free trial period. 

FuboTV’s sports channel offerings include ABC, ACC Network, Big Ten Network, CBS, CBS Sports Network, ESPN, ESPN2, ESPNews, FOX, FS1, FS2, Golf Network, Marquee Sports Network, Monumental Sports, NBC, NFL Network, and SEC Network. 

TL;DR: Instantly upgrade your PC with the Microsoft Office 2021 + Windows 11 Pro Bundle for just $54.97 (reg. $438).

Looking for a last-minute gift that’s thoughtful, practical, and doesn’t involve shipping delays? The Ultimate Microsoft Office Professional 2021 + Windows 11 Pro Bundle could be an ideal fit. For just $54.97 (reg. $438), you’ll get lifetime licenses for two essential tools that will upgrade anyone’s digital life — whether for work, school, or managing day-to-day tasks.

This bundle includes Microsoft Office Professional 2021, featuring all the productivity apps you rely on, such as Word, Excel, PowerPoint, Outlook, Publisher, and Access. No subscriptions, no recurring fees, just full ownership of industry-leading software. While it might be the absolute latest, it actually includes more apps than the 2024 version.

Pair that with Windows 11 Pro, Microsoft’s sleek and secure operating system. With advanced multitasking features like Snap Layouts and Virtual Desktops, you can seamlessly juggle multiple tasks and deadlines. The enhanced security features, including BitLocker encryption and biometric login, protect your data whether you work from home or on the go.

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Juror #2 sets an incredibly high bar for itself, as a movie that lives in the shadow of 12 Angry Men. However, its struggles to differentiate itself from the Sidney Lumet classic yield intriguing contradictions. This is an appropriate outcome for a film so torn over notions of American justice, with which it wrestles by imbuing a familiar plot with a significant wrinkle: What if one of the 12 jurors realizes they might be responsible for the murder at hand?

Despite its growing pains, Juror #2 gradually grows more gripping and self-assured, taking the form of solid, mid-budget adult entertainment with a lot on its mind and heart — the kind of movie Hollywood seldom green-lights in 2024. If it really is the last thing Clint Eastwood ever directs (he is, after all, 94 years old), then it's one hell of a swan song, despite Warner Bros.' insistence on a paltry 50-screen release.

SEE ALSO: The 25 best movies of 2024, and where to watch them

With its sense of careful, classical composition and emphasis on performance, Eastwood's courtroom drama represents a kind of American filmmaking being left in the past, which is oddly fitting too. The past is where the movie's subconscious resides, both as a tale of festering guilt and as a work that gazes lovingly upward at lofty American ideals that may no longer exist. Juror #2 reveals cracks in its own nostalgia through its riveting drama, and even through its own political flaws.

What is Juror #2 about?

On the surface, Georgia magazine writer Justin Kemp (Nicholas Hoult) seems to have it all, from the white picket fence to a doting, pregnant wife, Allison Crewson (Zoey Deutch). Their dynamic is fun and easygoing, and they even spend Halloween dressed up as the subjects of Grant Wood's painting American Gothic, an idyllic piece of Americana. Their only seeming speedbump en route to parenthood is the minor inconvenience of Justin's jury duty summons. The trial in question offers a stark contrast to Justin and Allison's picturesque domestic bliss: A tattooed drug pusher, James Sythe (Gabriel Basso) — the character's name evokes the grim reaper — is accused of bludgeoning his girlfriend, Kendall Carter (Francesca Eastwood), to death, and tossing her corpse off a shallow bridge.

The crime scene photos are gut-churning, but as a picture of the events is painted by diligent public defender Eric Resnick (Chris Messina) and ambitious assistant D.A. Faith Killebrew (Toni Collette) — another sharp, exacting name — Justin quickly realizes that he was at the same bar as Sythe and Kendall that rainy evening. He also recalls hitting something with his SUV in the darkness, right by a deer crossing, which led him to think little of the event at the time. Now, with the facts laid out before him, he isn't so sure, and with Sythe's innocence hanging in the balance, his decisions become paramount.

Jonathan Abrams' screenplay establishes the movie's premise quickly and with ruthless efficiency. In fact, Justin's realizations and his acceptance of his role in Kendall's death unfold rather quickly, to the point that something feels off about the movie's pacing. However, as Justin tries to convince his fellow jurors to rethink their stances — at first, he's the only holdout in a sea of guilty verdicts — a surprisingly deft balancing act emerges, wherein the drama of Justin's remorse, and his dilemmas over how to proceed, become increasingly entwined with the nature of the law itself, and with its in-built presumptions. Granted, the case itself feels legally dubious at times; rare are the moments when it feels like anyone, let alone these specific jurors, might ignore its enormous holes. However, this only makes the movie's argument more pointed, about what truly informs an individual's factual reality. 

The "what if?" hanging around Justin's neck like an albatross isn't one of whether he was responsible — he's sure of this up front — but rather, what might happen should he come clean, and what his alternatives to doing so might be. As he seeks legal advice from a lawyer friend, Larry Lasker (Kiefer Sutherland), his conundrum becomes excitingly complicated, paving the way for unexpected personal drama. Not only does Justin have his wife and unborn child to care for, there are also elements of his past — hinted at through dialogue, but eventually revealed through flashbacks and Hoult's heartrending personal confessions — that would, in theory, cast aspersions on his own character and idyllic façade, a fear made all the more pressing by how sure co-jurors seem of Sythe's morality.

SEE ALSO: John Oliver takes a disturbing deep dive into racism within the U.S. jury system

Justin, therefore, must sway 11 other individuals without tipping his hand. The film becomes a thrilling game of oration and of navigating fiery, idiosyncratic personalities. However, Eastwood never allows his story to become decoupled from larger concerns about the ethics of the law, and to what degree "innocent until proven guilty" truly holds when the accused, the attorneys, the jurors, and even judges don't exist in vacuum. "To the justice system!" Resnick toasts midway through the film, somewhat tongue-in-cheek. "It isn't perfect, but it's the best we've got."

Juror #2 is in a tug-of-war with 12 Angry Men.

Watching Juror #2 in no way requires homework, but familiarity with Lumet's landmark legal drama (or the teleplay on which it's based) makes it all the richer. There are, of course, overt plot similarities at the outset. Like Henry Fonda's upstanding Juror No. 8, Justin is initially the only "non-guilty" voter, while his 11 co-jurors seem convinced otherwise. Although Justin's motives are deeply personal — he knows the truth, and hopes to alleviate his own guilt — he takes a similar, step-by-step approach to Fonda's character, asking the group to re-examine the evidence and their own biases before making a life-changing decision.

However, where 12 Angry Men is largely confined to the deliberation room over a single day, Juror #2 spans several days, nights, and locations. While this distinction is merely logistical, what it does with this departure ensures that Eastwood's spiritual successor soon establishes its own identity. It has a wider purview, not only of the night of the crime — via numerous flashbacks that exhibit minor differences, depending on who's telling the story — but of the trial itself, and its political entanglements. Killebrew, for instance, is running for District Attorney, and a guilty verdict favors her career.

The departures are mischievous too, from a storytelling standpoint. Several characters, including a retired detective and fellow juror named Harold (J.K. Simmons), begin looking into the case independently, and the question of how close they might come to discovering Justin's involvement becomes a recurring throughline. However, the film's thematic expansions prove thorny as well. In updating the make-up of the jury from 12 white men to a mix of men and women of different ethnicities, the film seems to overlook the ensuing racial entanglements, rather than folding them into its story.

None of the jurors are particularly excited to be there — a key starting point, as they (and the audience) are slowly convinced of how important their roles might be — but the two most adamant advocates of a guilty verdict happen to be Marcus (Cedric Yarbrough) and Yolanda (Adrienne C. Moore), the only two Black members of the jury. Not only are they utterly, even viciously convinced of Sythe's guilt, they also place immense faith in the justice system without question. Yolanda is also afforded little interiority when it comes to her decision-making. While 12 Angry Men never quite got into racial specifics, its stray shot of the accused (John Savoca) and the charged language used by Lee J. Cobb's hot-headed Juror No. 3 ensured that the specter of racism was ever-present. It is, therefore, more than a little strange that a modern movie set in a Southern U.S. state might not even consider the broader picture of how one's experiences as a non-white person might differently shape their worldview when it comes to systems of legal justice.

On the plus side, Marcus becomes a greater focus of the film as things play out, so his reasoning feels more justified. But what's especially interesting about his character is that not only is he the ostensible analogue of Cobb's adamant third juror in 12 Angry Men, but there's something distinctly Cobb-esque about him too. The actors could be related for all we know; their eyes are sunken and thoughtful in strikingly similar ways, and Yarbrough layers his temper with nuance and humanity, in the exact same way Cobb was known for doing.

In fact, eyes may be the most important element of Juror #2.

Clint Eastwood paints Juror #2 with subtle, masterful brush strokes. Nicholas Hoult and director Clint Eastwood on set. Credit: Claire Folger / Warner Bros.

That the film lays its cards on the table within its first 30 minutes might seem surprising. However, it eschews all elements of mystery for a distinctive purpose. There's no doubt in Justin's or the audience's mind about what actually happened, so the drama is born from the uncertainty of what Justin might do next — and whether it'll be effective. The factual truth lies in the details, but the film's emotional truths are just as lucid, and they're often conveyed through performance. 

Juror #2 may be a wordy film, but its dialogue is seldom expository, other than in scenes recounting the case. Each actor's posture, their hesitance, and the turning of their mental and moral gears makes their characters' motives crystal clear, even as the film's own moral outlook grows murkier and more uncertain. You can tell exactly what a character is thinking just by observing their gaze, from the way they look at other people in the room, to the fleeting moments in which they avert their eyes, thinking silently to themselves. This is part of what makes the movie so enrapturing. The only time this technique is interrupted is when Eastwood and cinematographer Yves Bélanger pull purposefully from film noir, and use blinds and other physical elements to obscure Justin's eyes in shadow. Uncertainty of plot, and of fact, briefly becomes the same thing as uncertainty of personal truth. 

As the film nears its conclusion, Eastwood sprinkles more moments of doubt along the way, ensuring that anything remotely didactic about Juror #2 swiftly melts away. Hollywood movies about American systems tend to feature a saccharine optimism (à la The Report, which finds hope in the concept of justice even in a film about military torture). However, Juror #2 takes a more cynical bent, if a more realistic one, not only about the ways in which justice can be miscarried, but also the personally driven reasons the U.S. justice system often takes the shape it does.

And yet, Eastwood stresses the vital importance of personal duty within that system without ever getting lost in jingoistic notions. When the jurors feel uncommitted to their roles at first, the filmmaking is noncommittal too, unfolding at an unobtrusive distance and with mechanical proficiency. But as the drama becomes more personal, and more intimate, his aesthetic approach becomes imbued with a ferocious vitality. 

The camera presses in on characters like Justin — and even on Allison, as if to question what, if anything, she knows — practically interrogating them, as it seeks to solve questions that may be unanswerable, in a system rife with imperfections, but one that strives to be "more perfect." Juror #2 is old-school in its filmmaking, but it embodies a new school of thought for Eastwood, one briefly hinted at in Flags of Our Fathers but clarified with a newfound introspection and vulnerability. Deep-seated symbols and ideas become fluid, making space for captivating drama that both pays homage and paves its own path: a constant tussle between old and new.

Juror #2 is now streaming on Max.

UPDATE: Dec. 19, 2024, 3:41 p.m. EST This article was originally published on Nov. 1, 2024. It has been updated to include current viewing options.

Writer/director Barry Jenkins has proved himself as a passionate filmmaker through such gorgeous, human dramas as the San Francisco-set love story Medicine for Melancholy, the Best Picture-winning coming-of-age tale Moonlight, and the poignant adaptation of James Baldwin's If Beale Street Could Talk. So, if anyone could course-correct Disney away from the dead-eyed CGI remake of 2019's The Lion King, it'd be Jenkins, right?

Mufasa: The Lion King might be the greatest challenge the filmmaker has ever faced. Gone are the gorgeous human faces from which his sophisticated lens captured emotions big and fragile. The dialogue here is not penned by him or translated from a celebrated playwright, but comes from Jeffrey D. Nathanson, whose credits include Speed 2: Cruise Control, Indiana Jones and the Crystal Skull, and the "live-action" Lion King. The vibrant colors and enthralling animation style of the 1994 Disney animated classic have been chucked in favor of a more photorealistic look, draining Jenkins' previously bold palette. And because this is a prequel, there are requisites of plot and aesthetic that inherently confine the filmmaker's creativity.

SEE ALSO: The 25 best movies of 2024, and where to watch them

So, has Jenkins overcome all this to make a film worthy of his reputation? No, but he makes a noble effort.

Mufasa: The Lion King is a bunch of origin stories no one asked for. Credit: Disney

Have you ever wondered how Mufasa met Rafiki? How Zazu's morning reports came about? Where Rafiki got his signature walking stick or why Pride Rock looks like it does? No. Oh, well, this just got awkward. Yes, the main thrust of Mufasa: The Lion King is the backstory of how Mufasa came to be the King of the Pride Lands. But that doesn't stop this prequel from ham-fistedly shoving in additional lore to an eye-roll-worthy degree. The same attitude is taken with crudely wedging in popular characters — or at least cute and comedic ones — that have nothing to do with Mufasa's origins for some easy fan fodder.

As such, Mufasa begins with an adult Simba (Donald Glover) leaving his cub Kiara (Blue Ivy Carter) with babysitters Timon and Pumbaa (Billy Eichner and Seth Rogen), who swiftly cede storytelling duties to Rafiki (John Kani). From there, things get very Princess Bride, in that the story the mystic mandrill tells will be interrupted for Kiara to ask clarifying questions or for Timon and Pumbaa to deliver fart jokes or inexplicable pop culture references, including an allusion to The Lion King on Broadway. (Timon is furious he's a puppet in it.)

Credit: Disney

Amid these oft-irksome interruptions, the story of a young Mufasa takes shape both slowly and too swiftly. The Shakespearean gravitas of the original Lion King is lost amid the ruthlessly realistic animal faces that look mostly accurate aside from their mouths twisting to deliver lines like "I've always wanted a brother!"

The broad strokes of the plot are these: After a flash flood washes Mufasa far away from his homeland, he's rescued by a young, British-sounding prince/cub named Taka. After a rousing musical number, they decide they will be brothers (no matter what Taka's royal and xenophobic father says about "strays"). But when a pride of white-furred lions led by the fearsome Kiros (Mads Mikkelsen, because of course Mads Mikkelsen), a now-adolescent Mufasa (Rebel Ridge's Aaron Pierre) flees with Taka (Chevalier's Kelvin Harrison Jr.) to preserve the royal bloodline, heading for the mythical lands of Milele. Along the way, the pair will meet several familiar Lion King characters, before revealing the most telegraphed plot twist in all Disney history.

Mufasa: The Lion King brings together an astounding cast and Lin Manuel-Miranda as lyricist. Credit: Disney

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To Jenkins' credit, his cast is full of phenomenal talent. Pierre won praise earlier this year for his grounded and gritty action-hero turn in the hard-hitting thriller Rebel Ridge. Harrison Jr. has awed in critically heralded dramas like Luce and Waves, Joe Wright's adaptation of Cyrano, and the achingly underseen but moving biopic Chevalier. Also in the mix voicing lions are Emmy winner Thandiwe Newton (Westworld), BAFTA winner Lennie James (Save Me), Anika Noni Rose (aka the voice of Princess Tiana in The Princess and the Frog), Keith David (Dr. Facilier in The Princess and the Frog), and Folake Olowofoyeku (Bob Hearts Abishola). Plus, from 2019's The Lion King, Jenkins inherited Glover, Rogen, Eichner, Kani, and Beyoncé as Nala, who shares a brief scene with her real-life daughter Blue Ivy Carter, playing Kiara.

Collectively, this ensemble brings gravitas, emotions, and life into these characters. And new songs from Lin-Manuel Miranda (Hamilton, Moana, Encanto) deliver some welcomed joy amid the grim plotline of conquest, jealousy, and death. However, the songs here don't compare to Miranda's best, nor Elton John and Tim Rice's work in the original Lion King. Instead, much like the Miranda-less Moana 2, they feel like pale imitations of the original.

"I Always Wanted a Brother," sung as a duet of young Taka and young Mufasa, running about the other species of their terrain, echoes the youthful enthusiasm and naïveté of "I Just Can't Wait to Be King." Elsewhere, Mikkelsen delivers surly commitment and snarling cheek with the threatening "Bye Bye," but can't compare to Jeremy Irons' grandiose (and more cleverly written) "Be Prepared," an all-time best of Disney villain songs. The best of the soundtrack is "Tell Me It's You," sung by Aaron Pierre and Tiffany Boone, who voices Sarabi. "Can You Feel The Love Tonight," is undoubtedly hard to live up to, but actually hearing the lions at the song's center sing of their love is undeniably impactful, the hesitancy of their confessions of love playing out in a rushing, winsome song. But there's one big enemy to creativity that this could-have-been epic collaboration of talents can't overcome.

Mufasa: The Lion King is dragged down by the "live-action" aesthetic. Credit: Disney

I can't get past it, not in 2019 and not now. The decision to make a "live-action" Lion King binds the filmmaker to an animation style that bleeds away so much of the expressiveness that makes this medium a place for the impossible. Imagination is drowned in place of photorealism, which brings nothing interesting or exciting to these films. This pursuit of naturalism robs Jenkins of the freedom to play with color, as he did so memorably and movingly in Moonlight and If Beale Street Could Talk. Here, aside from splotches of occasional flowers, his lions live in a world of neutral colors. And perhaps it's a world gorgeously rendered, but the constantly moving "camera" won't allow you to linger on anything.

The shots in Mufasa: The Lion King are short and always moving. Watching the film on 3D IMAX, I realized I couldn't focus my eyes on anything, not because of the glasses, or some projection issue, but because nothing stayed consistently in frame for more than five or seven seconds. The eyes of the lion, the arc of a distinctive tree, the feathers of a soaring bird. I tried again and again to focus my eyes and take in natural wonders Disney has clearly spent plenty on recreating, but the constant prowling of the camera makes taking in such elements impossible to savor.

Perhaps Jenkins and director of photography James Laxton (Moonlight! If Beale Street Could Talk!) were looking to recreate the sense of a lion on the move, constantly swerving the camera to take things in. Or maybe they were keeping things moving to hide the seams of a world that strives for realism and falls short of the awe evoked by actual nature? Either way, it's disappointing. Mufasa: The Lion King is not the eyesore of its predecessor. The sparkling clear eyes of cub Kiara alone prove that point. But neither is it the awe-inspiring vision of the 1994 original.

Faced with the fan service expectations demanded of sequels and the soul-crushingly uninspired "live-action" animation style, Jenkins strove to break through with radiant human talent, swelling song numbers, and a physical point-of-view that perhaps allows the audience to feel part of the pride. But his swipes at originality are swallowed by so much IP. In the end, Mufasa: The Lion King is periodically entertaining but falls far short of reaching the heights of the original.

Mufasa: The Lion King opens in theaters Dec.20.

Flying was never the most stress-free way to travel, but thanks to never-ending airline delays, unruly passengers, and the incredible shrinking airline seat, it can be a nightmare. If you're ready to upgrade your flying experience, picking up a pair of noise-cancelling headphones can go a long way.

You definitely have options: plenty of headphones, from over-ear headphones to wireless earbuds, offer active noise cancellation. And in 2024, it's not too hard to find ANC headphones that cost under $100. That said, we do recommend spending a little more to enjoy maximum calm at 35,000 feet, but to make sure your investment is worth it, we've tried and tested some of the top noise-cancelling headphones on the market.

SEE ALSO: The 6 best Bluetooth speakers for basically any situation How much should I spend on noise-cancelling headphones?

If you want to find the best noise-cancelling headphones for flying, you should be prepared to pay $250 to $500. Premium headphones offer improved active noise cancellation, customizable settings, and transparency modes that allow you to hear those all-important gate announcements.

Many cheap headphones claim to offer "noise-cancelling" features, but a random pair of $50 over-ear headphones is more susceptible to letting sounds around you through, struggling to connect easily and switch between devices, or simply wearing more uncomfortably.

SEE ALSO: The 21 best TV shows of 2024, and where to stream them

At the end of the day, going for that good all-around pair is worth it, because on a flight, ANC on its own won't save the day — otherwise, we'd just direct you to our guide to the best noise-cancelling headphones. For long flights, comfort is also key. It won't matter if your headphones block sound if you only want to wear them for two out of five hours of your flight. And because this is a flying-focused roundup, we did give extra points to headphones with thoughtful design that makes storage easy.

If that $250-plus price range feels totally out of the question, we've included a couple of budget earbuds in the under-$100 category, but they come with tradeoffs. If you're okay with a mid-range pick, consider buying wireless earbuds with ANC instead of over-ear headphones.

If the cost of a pair of headphones is off-putting, you can always wait for a sale to start. We see headphones from Bose, Sony, and Apple get marked down year-round — if you don't want to keep your eyes peeled yourself, Mashable's deals coverage is a great place to find any noteworthy headphone deals.

What are the best noise-cancelling headphones for flying?

Noise-cancelling headphones are at their most useful on airplanes. It's difficult to find a moment's peace when so much is going on around you. Frequent flyers may prefer to rest or work, and the best way to prepare for either is by using the best ANC headphones to block out the chaos. 

Because shopping for headphones shouldn't be as stressful as heading to the airport, we've done extensive testing to bring you the top options. So, read on to find the best noise-cancelling headphones for airplanes in 2024 — all based on Mashable's hands-on headphones reviews.

If you know nothing about The Room Next Door beyond its co-stars, Tilda Swinton and Julianne Moore, you might understandably assume the film would be a heart-wrenching drama like We Need to Talk About Kevin and Magnolia or a brilliantly offbeat comedy like Problemista and The Big Lebowski. That the film is written and directed by Pedro Almodóvar isn't really a clue one way or the other. After all, the celebrated Spanish filmmaker has run the gamut from tender melodramas (All About My Mother, Parallel Mothers) to outrageous comedies (Dark Habits, Tie Me Up! Tie Me Down!) to sentimental Westerns (Strange Way of Life) and nerve-shredding thrillers (The Skin I Live In). Essentially, between the three of them, there's so much range that anything is possible in The Room Next Door. 

SEE ALSO: The 25 best movies of 2024, and where to watch them

Some may be disappointed that rather than the theatrical symbolism of Almodóvar's last collaboration with Swinton, the short film "The Human Voice," or the bonkers broad comedy of the airplane-set musical I'm So Excited, the multifaceted filmmaker offers something subtler. But once you've found the wavelength of The Room Next Door, it's undeniably beautiful, smartly amusing, and definitively humane. 

What's The Room Next Door about? 

Adapted from Sigrid Nunez's novel What Are You Going Through, The Room Next Door centers on two old friends who reconnect in New York City as one is releasing her latest book and the other is facing a terminal diagnosis. Novelist Ingrid (Moore) is quick to reconnect with war reporter Martha (Swinton) as soon as she hears the tragic news through a mutual friend. A visit in the hospital swiftly reignites a lively friendship, as the two share stories, memories, and regrets. Before long, Martha hatches a plan.

Death is inevitable, particularly hers. So she decides to go out on her own terms. Having secured a drug from the dark web, she proposes to Ingrid that they go to a beautiful rental house in a lush forest in upstate New York for one last trip. It's a vacation where they can sunbathe, read, relax, and where Martha is determined to die. It's important Ingrid be there, but not too close, just "in the next room." Reluctantly, Ingrid agrees, and Martha's death becomes more real with every moment, whether they're watching an old movie or swapping notes on a once-shared lover (silver fox John Turturro). In this, Almodóvar and his stars perform a moving ballet of mortality, grief, and acceptance. 

The Room Next Door is defiantly beautiful in the face of death.  

While the subject matter risks falling into maudlin territory, Almodóvar balances the thematic darkness with visual splendor. As the sun sets on the skylines of New York City, the buildings glisten in lavender, punctuated with pink windows alive with light. The forests surrounding the upstate vacation home are almost unreal in their rich greens, yellows, and purples. The spaces where these women move about are striped with bold reds and deep teals. And the women themselves are bedecked in gorgeous shades of fuschia, neon yellow, mustard, and lime. Beyond being pretty, these elements serve as a visual reminder of the persistent beauty found even in the darkest days. 

Almodóvar applies a painter's eye in The Room Next Door, reflecting the emotional state of Ingrid and Martha through where they stand in the frame. In moments of brewing stress, his cinematographer Eduard Grau often positions Ingrid alone, far off the center of the frame, reflecting her unease in this painful scenario. By contrast, Martha thrives in the center of the frame, confidently resigned. Yet their moments of quiet understanding and affection are visually balanced, with the cinematographer putting them either together in the center or spaced just so that a scale wouldn't topple. 

In one of the film's most visually striking moments, Almodóvar creates his version of Christina's World, the famous Andrew Wyeth painting that presents a woman, seated in a grass field, looking off to a distant house. While the message (and politics) of that painting have been debated since its debut in 1948, here Almodóvar contextualizes the image as an eerie moment of death and fate, two things which even the most gorgeous, vividly dressed woman cannot escape. And in doing so, The Room Next Door quietly urges its audience to embrace the now, for it is all that's certain beyond an end. 

Julianne Moore and Tilda Swinton are wondrous in The Room Next Door. 

Compared to Almodóvar's brassier offerings, The Room Next Door plays as subdued. But that's a suitable reflection of Martha's serenity in the face of death. Tears won't help. Tantrums will only waste time. And so she, and through unintentional peer pressure, Ingrid, regards this final chapter of their shared story with a warm reflectiveness. Flashbacks pull us into a careless youth, made more romantic by remembering. Playing narrator to such scenes, Swinton has a slight swoon to her voice, as Moore's tone takes on an encouraging curiousness. 

Whatever the mood, be it jubilant, blissful, or wounded by loss, these two connect in tone and touch, masterfully establishing a friendship loyal and robust. Then, in a third act that leaps to an unpredictable chapter, Swinton and Moore's dynamic shifts. And once more, they find a mesmerizing balance between two women looking from different sides of an experience. Incredibly, The Room Next Door gently lays us in their space of overlap, presenting not just a life and a death, but a friendship that defined both. 

The Room Next Door is now playing in limited release.

UPDATE: Dec. 19, 2024, 3:28 p.m. EST "The Room Next Door" was reviewed out of its North American Premiere at the Toronto International Film Festival in this article, originally published Sept. 27, 2024. It has been updated to include current viewing options.

Celebrated indie writer/director Sean Baker isn't precious about sex. On social media, pearl-clutchers chatter about love scenes being unneeded in media. In politics, our bedroom activities and identities become fear-mongering talking points. Meanwhile, Baker shrugs off such puritanical shame, turning out one critically heralded movie after another that offers a defiantly casual yet humane portrait of sex work in the U.S.

Among his most notable: Tangerine, which won a slew of Gotham Awards, follows two enchanting trans sex workers around during a harried Christmas in Los Angeles. The Florida Project, which features Willem Dafoe in an Oscar-nominated supporting role, centers on the mischievous child of a sex worker, being raised in candy-colored squalor under the shadow of the Disney theme park. Palme d'Or nominee Red Rocket stars Simon Rex as a washed-up porn star looking for a new lease on life with a fresh-faced ingénue. Now, Baker's Palme d'Or winner Anora chases the Pretty Woman dream — a "hooker with a heart of gold" marries a wealthy white knight — to a far less Hollywood ending. 

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Rejecting both the Holly Golightly/Vivian Ward version of sex for sale and the gritty thriller route of treating sex work as scandalous set dressing, Baker has made films about Americans living on the fringe of a society that wants yet rejects them. And Anora may be his best yet.  

Anora is outrageous, sexy, and hilarious.  Mikey Madison stars as Ani in "Anora." Credit: NEON

Written and directed by Baker, Anora stars Mikey Madison (Scream 5, Better Things) as its eponymous heroine (and she would really prefer it if you called her Ani). When she's not getting shit from her sister/roommate in their humble Brooklyn apartment, the twentysomething is shaking her G-string-clad bum at a strip club with a beguiling smile on her face. Like Baker's previous films, sex work is shown with a mix of frankness and humor. So amid a montage of lap dances, Ani is also shown eating dinner out of a Tupperware while arguing with her boss about her rights as a freelance contractor. This snatch at office comedy is a simple way to demystify a job that's such a point of fascination and condemnation for American audiences. 

However, Ani soon finds a way out of this grind when a sweet-faced and suspiciously wealthy Russian boy offers her a sugar daddy deal. What begins as a house call soon escalates into a trip to Vegas and a quickie wedding. But this isn't a flat-out love match for either. For Ani, it's a chance to be a trophy wife to a young, hot, rich husband with whom she actually enjoys hanging out. For Vanya (Mark Eidelshtein), Ani is a ticket to a green card that can keep him in the U.S. and away from the tedious demands of his oligarch parents back in Russia. As you might expect with such a setup, their honeymoon is short-lived. Before long, a couple of thick-necked goons come knocking at Vanya's New York City home, demanding an explanation about the rumor he's married beneath his station. 

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Mafia movies train us to brace for violence in such a scenario. And Baker delivers, but not in the way you'd expect. Rather than showing men brutalizing a beautiful, scantily clad young woman (a real danger for women in sex work), Ani turns the tables — and shatters them — in a sequence that is wild and unnervingly funny.

Far from a frightened mouse, Ani rages at these intruders who aim to bully her out of her dream and into an annulment. What follows is a wonderfully bewildering road trip movie. With Vanya having fled in a juvenile panic, it's up to a reluctant Ani, a motley crew of brooding Armenian brothers (Karren Karagulian and Vache Tovmasyan), and a bit of extra muscle in the introverted but emotionally intelligent Igor (Yura Borisov) to find the thrill-seeking heir before his very pissed-off parents land in their private jet. 

Mikey Madison is a force of nature.  Mikey Madison stars in "Anora." Credit: NEON

Anora demands a lot of its leading lady.

Ani's work means Madison's body is on recurring display, performing steamy dances and acrobatic pole work in long shots that keep every extension in frame. The story's emotional arc has dizzying highs and gut-churning lows, while the stunt work includes (but isn't limited to) the previously mentioned fight scene with shattered glass and a broken nose (not hers). On top of all of this, Madison must shoulder the story as every man in the vicinity of her heroine acts like a buffoon or a bully.

All this demands more than being Julia Roberts-level charming, which she is. It demands a smirking self-awareness, an edged brand of humor, and a vulnerability that can flash to defense in the blink of an eye. Madison isn't performing Ani; she's bringing to life a woman in full, from her carefully lacquered pedicure to her tinsel hair extensions. Ani might not be like someone you know, but by the end of the movie you will know her intimately. 

It's easy to fall in love with Ani. And we're not the only ones who do. 

SEE ALSO: What happened at the end of 'Anora'? Yura Borisov is superb in Anora.  Yura Borisov is an unexpected heart throb in "Anora." Credit: NEON

From Tangerine's Mya Taylor to The Florida Project's Brooklynn Prince to Red Rocket's Simon Rex, Baker has an eye for casting. In his homeland of Russia, Yura Borisov has a sizable filmography. And whether you're familiar with it or not, it's easy to see why from the moment he makes eye contact with Ani. Though Igor is brought along in case there's trouble, his face is not one of aggression or threat. He's not some Goon #2, as his eyes glisten with a sharp understanding of every situation he finds himself in.

While all around him there's hollering and proselytizing and drama, his words are few and his tone is soft. Steadily and subtly, he becomes a counterpoint to the other characters, quietly making space for Ani's feelings and thoughts where others reject them. It's character work that relies so heavily on physicality that every shift of his eyebrow, shrug of his shoulder, or flex of his finger carries weight. And as Ani begins to notice this, the film moves further and further from the conventions of a mafia drama or a Hollywood happy ending, into a path that is Baker's to chart. And where it ends up is at once funny, frustrating, and yet satisfyingly cathartic. 

Anora is hands down the year's best.  Yuriy Borisov, Mikey Madison, Vache Tovmasyan, and Karren Karagulian walk by a rollercoaster in "Anora." Credit: NEON

Ushering audiences from the back rooms of a sweaty strip club to the silk sheets of a posh condo, to the dazzling, neon-lit promenade of Las Vegas, and back to the pungent Russian restaurants of Coney Island, Anora is magnificently alive. Madison is its shining star, her charisma absolute as she wields a Brooklyn accent like a whip to dazzle with or wreak havoc as she sees fit. The supporting cast — including Lindsey Normington as a vicious rival — is terrifically grounded in Baker's Brooklyn of bumbling intimidation and reckless lust, nurturing sharp comments and sharper punchlines. But Borisov proves the perfect foil to Madison, allowing her to glow all the brighter under his gaze. He reflects our own growing awe of this badass broad who won't — to borrow from another 2024 cinematic sex worker — will not accept a life she does not deserve.

Underscoring this passionate tone, the cinematography of Drew Daniels draws us in closer, following over Ani's shoulder as she strides onto a stage or into a challenge. The resplendent colors — rich reds, cool teals — are set off against environments of posh beiges or urban grays, setting Ani apart as extraordinary in every moment. Altogether, Anora is a visceral experience, making its audience not voyeurs but one of the crew. Thus embedded, our pulses race, our eyes grow wide, our hearts dance as our heroes do. Anora offers a glorious thrill, as bold as it is brilliant.

Anora is available on Prime Video for purchase.

UPDATE: Dec. 19, 2024, 4:38 p.m. EST Anora was reviewed from the Toronto International Film Festival on Sept. 7, 2024. This post has been updated to include the latest viewing options.

The Brutalist is a towering paean to the American dream, in all its force and folly. Set over several decades, Brady Corbet's post-World War II immigrant saga is — like the architectural achievements of its protagonist — constructed with meticulous consideration, resulting in a work of multifaceted technique and piercing humanity.

The film, arresting from its first frames, spends three-and-a-half engrossing hours on the tale of László Tóth (Adrien Brody), a fictitious Jewish Hungarian architect and survivor of the Holocaust, whose arrival in America yields both rigorous struggle and tempting opportunity. It embodies the kind of American epics no longer really made by Hollywood studios. Comparisons to The Godfather have abounded since its Venice International Film Festival premiere (though as a vast immigrant saga, a more fitting analogy might be The Godfather Part II). Time will tell whether these are hyperbole, but while watching The Brutalist, it's hard not to think of the truly great American stories of the 20th century, like Once Upon a Time In America, and on occasion, even Citizen Kane.

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The latter is the loftiest possible invocation, but it's a comparison of scale and subject matter, not of technical innovation. The Brutalist, for all its splendor, is not a forward-thinking film like Orson Welles' Kane — but this is, in fact, a key piece of its aesthetic and thematic puzzle. The immediacy with which it conjures past masterpieces is part of its enormous thesis on the purpose of art, which it smuggles beneath a soul-stirring saga of survival, one that exists in conversation with, of all things, Ayn Rand's The Fountainhead. The film is both a densely-packed text, filled with rich thought on the world at large, as well as an excitingly rhythmic work of cinema that moves with a fearsome passion. It's hard not to think of it as a new American masterpiece.

What is The Brutalist about?

Written by Corbet and Mona Fastvold, The Brutalist begins in 1947, in a time of reconstruction and uncertainty. When László arrives on Ellis Island — an intimate, disorienting scene that begins in his darkened ship bunk and moves above deck — his wife Erzsébet (Felicity Jones) and niece Zsófia (Raffey Cassidy), from whom he was separated during the war, remain stuck in the Soviet Union.

Taken in by his cousin Attila (Alessandro Nivola) in Philadelphia and working in his furniture shop, László begins proposing unique Modernist designs, until he's commissioned to build a library for a wealthy family, the Van Burens. Over the years, these aristocratic, old-money magnates — the boastful Harrison Lee (Guy Pearce) and his slimy son Harry (Joe Alwyn) — become a vital part of László's story. The film is novelistic in its unfurling, occasionally taking the form of an epistolary, via the letters sent between László and Erzsébet, but to borrow a phrase from a fellow critic, it's also "Great American Novel-istic." László's architectural passions, and his desperation to be reunited with his family, become deeply entwined with his personal and artistic ambitions. To put it simply, money is the solution at every turn, even if it corrodes his soul — but The Brutalist isn't quite so didactic.

While it spends several hours chronicling the way László changes, and is changed by the United States, the temptations of wealth and power are a small subset of the larger forces that mold him into a much angrier and bitter person. A party scene in Harrison's mansion diverts its focus from conversations to slow-motion shots of champagne and expensive jewelry, just as László is about to sign a long-term contract with the family to construct a community center. However, at no point does Corbet cut to reaction shots of László noticing these trinkets. They represent the fabric of the world he's about to enter, though as his chat with Harrison proceeds, he continues to speak of architecture with poetic adoration. ("I always find our conversations intellectually stimulating!" Harrison rasps, disguising the knowledge that he'll never be László's intellectual equal.) Wealth may not change László’s passions, but it might change how he approaches them.

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All the while, the film also explores the fraught corners of post-World War II Jewish identity in the West. From the moment László arrives on America's shores, he's presented with questions of assimilation. His cousin Attila has married a Catholic woman, Audrey (Emma Laird), and has converted. The store he runs is called Miller and Sons, even though his last name is (or was) Molnár, the Hungarian equivalent — and as László quips, "You have no sons!" Before long, news of the infant state of Israel reaches him, leading to other Jewish characters in his vicinity wrestling with their rights and obligations.

Filming on The Brutalist was completed in May of last year, before the events of Oct. 7 led to a more widespread discussion on understanding of the colonial aspects of Israel's founding. The film doesn't get into granular detail — László himself may not be aware of the U.N.'s plans for the region, or how they might displace local Arabs — but the looming specter of this conversation imbues the movie with a tragic dilemma. László's options, as a refugee, are to bring other people harm through displacement, or to continue bringing harm to his own soul, through his immersion in American capitalism.

As the film proceeds, it centers a key question that applies to every facet of its construction: "What is strength?"

László's vision for the Van Burens' building — a blocky, pyramidic structure few others seem to understand — is uncompromising to a fault, even if it means pushing other people away in the process. But as the film proceeds, it centers a key question that applies to every facet of its construction: "What is strength?" What is its nature? Is it the materials and the deep concrete foundation László builds? If so, must this come at the cost of the shakier foundation of his roots in a new country? He is always seen as an outsider, whether because of his Jewish-ness, his foreign-ness, or both. Does strength involve living with the physical and psychological pain he's endured, and the strain it puts on his marriage? Or does it involve numbing that pain at any cost?

This thematic exclamation point would mark the end of discussions on most modern American films. But in the case of The Brutalist, it's merely the beginning, thanks in large part to Corbet's multifaceted, referential, and at times reverential use of form.

Every aspect of The Brutalist is finely tuned

What stands out first and foremost about The Brutalist is Adrien Brody's lead performance. It's funny, and stirring, and risible. However, there's not a single moment where the Hungarian-American actor isn't reaching into the depths of his soul, mining some corner of either his previous roles (such as in The Pianist) or of his mother's experience as a Hungarian woman of Jewish descent forced to flee her country in the 1950s. There's an awkwardness to László too, given the way he interacts with the world around him — which is to say, the country around him. To the untrained ear, his Hungarian dialogue (and his Hungarian accent while speaking English) seem just fine, but the Queens-born actor also purges himself of any remotely American intonation or idiosyncrasy. Whether or not he nails Hungarian specificities, he plays "foreigner" to a tee, between the way he gesticulates, to the way he enters and leaves both rooms and conversations. He is, first and foremost, an outsider.

While Brody's work is magnificently pained, let it not go unsaid: Guy Pearce is the movie's secret weapon, as the actor charged with creating the in-groups and inner circles which tacitly reject László in the first place. As Harrison, the Australian actor channels an air of arrogance that the character often smarmily re-frames as benevolence, leading to moments of shockingly casual cruelty towards László, usually played off as jokes. This dynamic is a key part of the story, and of the America in which László starts to assimilate, taking on Harrison's traits in turn.

Corbet's camera helps these performances shine, especially in the moments that The Brutalist takes dark and dour turns. Cinematographer Lol Crawley bathes certain scenes in darkness; his palette's contrasting warmth and shadow may have led to some of the Godfather comparisons, but the film isn’t interested in mere imitation, even though it conjures old-world styles as though they were forgotten spirits.

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The Brutalist was shot on VistaVision, an IMAX-like technique first developed in the 1950s, in which 35-millimeter film stock was run sideways through a camera, increasing the surface area of the frame (the movie was subsequently projected on 70-millimeter at its premiere). This results in a crisper, sharper image than results from most modern digital workflows, but The Brutalist also appears to employ older lenses with numerous flaws, and razor-thin margin for what is or isn't in focus, revealing new dimensions to spaces and even people. Between its use of era-appropriate techniques and withered tools, The Brutalist ends up existing in a liminal space between past and present; it's simultaneously of an older era, as well as a window to that era, revealing a complicated relationship to the past.

'The Brutalist' ends up existing in a liminal space between past and present; it's simultaneously of an older era, as well as a window to that era, revealing a complicated relationship to the past.

For László, this relationship manifests as a pull-and-push between art and industry, and a struggle to preserve the forms his buildings take under capitalist constraints. However, the film itself takes intriguing form as well, wielding a litany of techniques owed to numerous different film movements over the years (that they even remotely gel together is something miraculous). The Brutalist is, in large part, shot with the classical composition of old Hollywood, with controlled framing and movement, but it often breaks from this norm.

On occasion, one might find the pronounced jump cuts of the French New Wave (created, ironically, as a response to the classic Hollywood studios), alongside the use of Soviet montage, accompanied — equally ironically — by voiceover and spliced footage from American propaganda newsreels about industrial innovation. The stark and careful shadows of Godfather cinematographer Gordon Willis, of New Hollywood, find themselves alongside techniques from contemporary independent movements in New York, like the freewheeling, improvisational, up-close-and-personal style of John Cassavetes. You might even find some Hungarian influence if you look closely enough (certain shots are owed to Béla Tarr, while others to László Nemes), and as the film moves forward through time, it even pulls from Lynchian surrealism, and techniques developed during the early video revolution.

Corbet's use of these contrasting techniques isn't just pronounced, but powerful and purposeful. He employs them to create jolting moments of narrative impact, but he also seems to pay homage to the history of the cinematic medium (and its development) as a means to embody the very story he's telling, about the complicated ways in which people hold on to the past. And, as a film that's as much about László's painful history as it is about America's past, it makes for an aesthetic refutation of one of its biggest influences: Ayn Rand.

The Brutalist remixes and transforms The Fountainhead

The Brutalist owes much of its story and structure to Rand's The Fountainhead, from its basic premise of an uncompromising architect, to plot developments like László being plucked from toil and obscurity to create something lasting; he shovels coal for a period, the same way Rand's hero Howard Roark worked in a granite quarry. But as visualized in King Vidor's much-maligned 1949 film version of the book — which stars Gary Cooper, and for which Rand herself wrote the screenplay — Modernist and Brutalist architecture take on a fascistic tone in The Fountainhead. They become about leaving the past behind, and shaking off the influences of Graeco-Roman styles, in favor of a "form flows from function" approach. This function-first belief, though it has older origins, was notably espoused by Adolf Hitler, who abhorred "stupid imitations of the past."

Brutalism, though it has more egalitarian origins like low-income social housing, does have a stylistic and philosophical overlap with totalitarian architecture. Both come to similar aesthetic conclusions — the angular, the monochrome, the display of materials — albeit for very different reasons. Vidor's The Fountainhead, in which Roark creates in a Modernist style verging on Brutalist, arguably does a disservice to form, both as an architectural concept, and a filmic one. In Vidor’s story, the influence of the past is framed as a cloying, constraining force intent on snuffing out individuality, and the way that story is told is similarly functional (the film has its charms, but it's straightforward in its presentation, and rote in its delivery of dialogue).

Vidor's film is hardly a defining pillar of modern American politics, but Rand's Objectivist philosophies certainly are. Her rejection of collectivism both tapped into and subsequently clarified the heart of American capitalism — the very same heart Corbet puts on display, and presents as a magnetic force for László, pulling him toward more autocratic ideals. The Brutalist never expands on László’s political outlook, or that of his wife, because the movie's immigrant characters tend to tiptoe around these questions, from poor and wealthy Americans alike, at a time when foreigners (and communists) were looked upon with suspicion. However, Corbet leaves plenty by way of breadcrumbs to figure out what their beliefs might be, and how those beliefs come into immediate conflict with the ideals of their adopted home.

'The Brutalist' is, deep in its bones, a collectivist film that not only places immense emotional value on people and their history, but creates and embodies that value too.

Though he puts on an uncompromising front when it comes to his designs, László is always found compromising when it comes to belief, and the way he conducts himself. These are tensions The Brutalist works into every scene, making its gargantuan runtime seem like a piece of cake. It's a film from which you cannot look away, and wouldn't want to — even when it takes dark and dour turns, whose presentation verges on the phantasmagorical.

As much as The Brutalist is a film of steel and concrete, it's a film of the spirit too, and the way the soul is built and constructed from local materials. It's about all the things that make America, and make American stories. Ultimately, when the movie reveals a previously obscured detail about László's work, it makes for a devastating cinematic mic drop that elucidates its meaning in complicated ways, while exposing the risk of having that meaning distorted and re-appropriated. It reclaims even the Randian notion that Modernism, Brutalism, and progress at large are ideals that must be cut off from the past, and from connections to other human beings. The Brutalist is, deep in its bones, a collectivist film that not only places immense emotional value on people and their history, but creates and embodies that value too.

The Brutalist is now playing in theaters. 

UPDATE: Dec. 19, 2024, 2:10 p.m. EST "The Brutalist" was reviewed on Sept. 2, 2024 out of its World Premiere at the Venice International Film Festival. This post has been updated to include the most current viewing options.

Save $129: As of Dec. 18, Samsung 32-inch Odyssey G55C curved gaming monitor is available for $199.99 at Amazon, a 39% discount from its regular price of $329.99.

Opens in a new window Credit: Samsung Samsung 32-inch Odyssey G55C Curved Gaming Monitor $199.99 at Amazon
$329.99 Save $130.00 Get Deal

Gamers, it's time to level up your setup with the Samsung 32-inch Odyssey G55C curved gaming monitor. Packed with premium features and designed to immerse you in every frame, this monitor is now on sale at Amazon for $199.99 — a fantastic $130 off its original price of $329.99.

Odyssey G55C's 1000R curved display is engineered to pull you into the action. With QHD resolution (1.7 times the pixel density of Full HD), the visuals are razor-sharp, detailed, and vibrant. It's like stepping into another dimension and is perfect for gaming, streaming, or work. The 16:9 aspect ratio provides ample screen real estate, so you'll never feel cramped during intense sessions.

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